S5 E7 According to Harpy
by Harpy101
Summary: Teaser and Act 1 from E7. Two more acts coming soon for this, and then one more episode in coming weeks. It's important for writers to finish their stuff, and I want to be done before September.


**Teaser:**

SERVANT'S DINING HALL, MORNING.

_Maids are bustling with breakfast as staff wanders in._

_Sprat is looking over a breakfast tray and talking to the_

_maid who is about to deliver it._

SPRAT

If Her Ladyship has changed her

breakfast preferences, I don't know

about it.

MAID

You told me yesterday to be sure

that she had marmalade.

SPRAT

For tea. On occasion. Not for

breakfast. She takes no sweet at

breakfast. Just the egg and the

toast. You've overdone the toast;

it's too dark. And now the egg

will be overdone. Start over.

MAID

Then she'll be waiting overlong!

SPRAT

I will explain your incompetence to

Her Ladyship.

BAXTER

Isn't that a bit harsh?

SPRAT

It's a bit out of your sphere, I

should say. You are not in Her

Ladyship's employ.

MOSELEY

It's more than a bit out of line to

speak to my fiance in that manner.

I expect an apology.

SPRAT

Your expectations are not my

concern.

CARSON

(Booming) On more than one occasion

I have been forced to play

ringmaster before I've had my

morning tea and this will be an end

on it. Am I clear?

_There is silence. The maid goes into the kitchen with the_

_tray. Sprat and Moseley exchange a filthy look. Carson_

_sighs, shaking it off, and hands out the mail._

CARSON (CONT'D)

A letter for Mr. Bates. And a

package for Anna.

BAXTER

A package? Is it from the

milliner's supply?

_Bates, sitting next to Anna, is looking at the address. He_

_and Anna exchange a significant look. Anna opens the_

_package, pulling out the items as she reads the note._

ANNA

Paper dolls for baby Sybil. A toy

top for Master George...

MOSELEY

Who's it from?

_Anna goes silent, reading the rest of the letter. Bates_

_reads it as well. They both finish, grave and serious._

HUGHES

(Laughing) Well, don't keep us in

suspense.

ANNA

It's from Thomas Barrow.

ACT 1:

BREAKFAST TABLE UPSTAIRS.

ROBERT

Mary and Cora are looking forward

to meeting Miss Bunting at dinner

tonight.

TOM

Yes. Sarah is looking forward to

it as well.

ROBERT

She - works, then?

TOM

She's a teacher. At the local

school.

ROBERT

A-respectable enough profession.

_Robert, though uncomfortable with this, is clearly trying._

_Tom and Blake exchange a look._

BLAKE

As connections in the village go,

she could hardly be in a better

position to help us. Someone so

respected by the communities, by

parents and children, she has great

potential as a family ambassador.

_Blake is looking at Tom._

BLAKE (CONT'D)

As well as the distinction of being

a friend of yours, of course.

ROBERT

I am perfectly happy to stand by

Tom. But why do we need an

ambassador?

BLAKE

Times are changing, My Lord.

ROBERT

You'll soon be using familiarity

with me, Charles.

BLAKE

(Laughs) But until then...(he

starts again) The upper classes

must keep good relations in the

community. We must make alliances,

and we must-

TOM

Enlist commoners to speak for (he

struggles)-us?

ROBERT

Tom, I only meant-

BLAKE

Yes.

_Silence._

TOM

I agree. And Sarah agrees-to a point.

_Blake grins at that._

BLAKE

But we must do even more. I've an

idea.

ROBERT

What now? Sell tickets for tours of

the house?

BLAKE

Possibly. Eventually.

_Robert is shocked and half thinks Blake is kidding, but Blake_

_ignores him and continues on._

BLAKE (CONT'D)

We must contribute something on a

cultural level. Something lasting.

Something honest.

_Robert and Tom are staring at him._

ROBERT

I tremble to ask.

BLAKE

The greatest divide is

understanding. Clearly an open

house is taking it too far.

ROBERT

I am relieved to hear that.

BLAKE

But perhaps a glimpse of life the

way we live it - and the way our

families honor our history.

_Tom and Robert wait._

BLAKE (CONT'D)

What about a book?

TOM

What sort of book?

BLAKE

A great book with pictures,

photographs. Not just of the

estate, but of the details of daily

life. The silver, the linens-

ROBERT

Doesn't sound wise.

BLAKE

And the records. The history of

maids in employ here. The recent

cuts to the estate. The donations,

the support of the farms, the

bizarres, all of it. The facts.

ROBERT

But what would be the point?

TOM

Honesty.

BLAKE

Yes. But also, English history is

intimately woven with the lives of

the great families. This could be

a contribution to our cultural

heritage. For future generations.

ROBERT

You want me to write a book.

TOM

(Understanding) Not just you.

_Blake smiles. Robert is puzzling._

TOM (CONT'D)

What member of house staff has a

passion for the history of great

families, in particular the

Crawleys, and has more time on his

hands lately?

UPSTAIRS HALL. MORNING.

_Bates and Anna talk in hushed voices._

BATES

I'll go to London this afternoon.

ANNA

And do what?

BATES

I'll-call him at the Savoy. He

said he's serving lunches. I'll

find out where this photographer is

and get the film.

ANNA

How simple you make it sound. But

this is Thomas.

_Tom Branson opens the nursery door behind them, unseen, and_

_pauses when he hears the lowered voices._

BATES

I thought of that, too. It could

be some sort of prank. But Lady

Edith was all those months abroad.

And then moving to London. It

makes sense.

_At the sound of Edith's name Tom backs against the wall,_

_listening harder._

ANNA

It does make sense. But-

BATES

This stinks of organized crime.

Extortion is big business, Anna.

Lady Edith could be in danger, and

her child, if in fact there is one.

You don't know what those people

are like.

ANNA

You can't be planning to take them on, then.

BATES

I won't take on anyone. I'll-find

out where he keeps his film.

ANNA

And steal it?

BATES

I'll find out more from Thomas

first. But we can't let this go any

further. We've got to stop it now.

Lady Edith and the whole family

could be in jeopardy.

ANNA

Yes. WE.

BATES

Don't even think of it. You are

not coming with me.

ANNA

I am.

BATES

It's impossible. I won't allow it.

_Anna gives him a look._

BATES (CONT'D)

I couldn't bear for anything to

happen to you.

_They stare at each other, facing off._

BATES (CONT'D)

I couldn't bear it, Anna.

_He is off down the hall. Anna stares as her husband walks_

_away, looking at his cane and his limp. She is worried._

_Anna moves down the hall after Bates, slowly. Tom follows_

_her._

KITCHEN. MORNING.

_Daisy and Patmore are sitting down to a cup of tea as maids clean up from breakfast._

PATMORE

Seemed like a well-behaved

gentleman.

DAISY

Who would that be?

PATMORE

That fine steed you rode to work.

DAISY

Oh. Shadow. Yes.

PATMORE

You didn't mention it.

DAISY

I'm just learning to ride. It

still frightens me. I didn't want

anyone watching me.

PATMORE

Seems risky to practice riding on

the way to work.

DAISY

My bicycle broke yesterday on the

way to the farm. Ian's fixing it

this morning and then he'll ride it

over and take Shadow back to the

farm.

PATMORE

Ian, that's the farm hand?

DAISY

Well, more an overseer now. He

helps out Mr. Mason. He knows a lot

about farming.

PATMORE

A young man, is he?

DAISY

Not so young. His wife passed away

over two years ago now.

Childbirth.

PATMORE

That's very sad.

DAISY

Yes.

PATMORE

But better an experienced mount

than an experienced rider.

DAISY

(Looks at Patmore in shock) What do

you mean?

PATMORE

Is he coming 'round this morning,

this Ian?

DAISY

Afternoon, but-

PATMORE

I'll look for him, then.

DAISY

But why-

_Patmore sighs._

PATMORE

A young lass can never see the

stars in her own eyes.

_Patmore stands, finishing her tea._

PATMORE (CONT'D)

And he's got to pass Patmore

inspection, after all.

UPSTAIRS HALLWAY. MORNING.

_Tom is following Anna down the hallway. He calls out in a_

_whisper._

TOM

Anna!

_Anna stops in her tracks, turning._

ANNA

Mr. Branson?

TOM

A moment, please.

_Tom pulls Anna into a doorway. He looks up and down the_

_hall, and hesitates._

ANNA

How can I help?

TOM

(After a moment)

Lady Edith does have a child. A

baby girl, Corinne. She moved the

baby to London with her a few weeks

ago.

_Anna's eyes widen._

TOM (CONT'D)

The family doesn't know.

ANNA

Then - Thomas was telling the

truth.

TOM

This could bring terrible scandal

on her. And the family.

ANNA

Or worse.

TOM

She must be told if one of her own

staff are spying on her and taking

pictures. But if it's organized

crime-

ANNA

We must warn her. Even urge her to

leave London at once with the

child.

TOM

She trusted me with a confidence.

But if she's in danger-

ANNA

And as you say, this involves the

entire family. Keeping this secret

from the rest of them now could be

the worst thing we do.

TOM

I made a promise.

ANNA

I understand. But if she's already

been photographed, then the

reputation of the whole family has

already been compromised. And what

about her safety? And the baby?

TOM

I don't want to betray her-

ANNA

If it were me -I would want my

family fighting by my side. Even if

my secret came to light.

TOM

But this is not something for

either of us to decide.

ANNA

We don't have the luxury of

standing by and doing nothing. And

we don't have the time.

_Silence._

TOM

Knowledge is a burden.

ANNA

Mr. Branson, the burden of

knowledge is nothing compared with

the burden of a secret.

LIBRARY. LATE MORNING.

CARSON

I'll be seeing to the wedding

silver later this morning. As to

the staff for the reception, I

thought-

ROBERT

I've no questions as to that,

Carson. I leave it entirely in

your charge as always.

CARSON

Thank you, My Lord.

ROBERT

I do have another matter to discuss

with you.

CARSON

My Lord?

ROBERT

I wonder how you would feel about -

a collaboration?

LADY MARY'S BEDROOM. LATE MORNING.

_Anna knocks and enters. Mary turns from her_

_dressing table, standing._

MARY

Anna. I've several things to

discuss with you this morning. As

the Blake family will be here next

week, I must find a way to convince

Edith to be my maid of honor as

soon as possible. We don't want us to

be divided just as we're joining a

new family. I sent a second letter to

Edith about it and I've had no reply.

ANNA

My Lady-

MARY

And I want to make some changes to

my gown in the next few days. I

think there are too many pearls on

it, and since it's my second

wedding, I don't-

ANNA

My Lady.

MARY

What is it?

ANNA

I-if you were anyone else I'd ask

you to sit down.

MARY

You know me better. I take my bad

news standing up. What is it,

Anna?

NURSERY, MORNING.

_Cora is seated on a low chair, playing with George. Tom_

_enters and gives the toy top to George._

TOM

Gifts from strange quarters.

CORA

It's perfect, Tom. He loves to

spin tops. Who is it from?

TOM

Cora.

_She looks up._

TOM (CONT'D)

I must speak with you.

CORA

You've gone quite serious suddenly.

Whatever can it be?

TOM

I-I have been keeping a secret from

you. A confidence.

CORA

You know I'm aware of that.

_Silence._

CORA (CONT'D)

Are you going to tell me now,

finally?

TOM

Yes.

CORA

I'm glad.

TOM

You might not be.

THE ATTICS. DAY.

_Bates enters, his unopened letter from breakfast visible in_

_his pocket. Mosely looks out from a closet._

MOSELEY

His tweeds will need a going over.

And I'll need to see about his

formals as well, with the wedding

coming up.

BATES

I couldn't have thought of more

myself. You've got it well in

hand, Mr. Mosely.

MOSELEY

I'd given up on the idea that I'd

be taking this position.

But now-it's in the best circumstances

possible. Phyllis-Miss Baxter and I

are very happy for you. We wish

you all the best in your endeavor.

BATES

We know you do. And thank you.

_Carson enters. He's energized-even a bit excited._

CARSON

Ah, Mr. Bates, Mr. Mosely. A

moment, if you will.

BATES

Of course.

CARSON

Would you both be inclined to share

your - experience in service?

MOSELEY

Experience?

CARSON

Yes. Purely for historical

purposes. And Mr. Bates, would you

be willing to contribute your

impressions of the families in

great houses before and after the

Boer Wars?

BATES

I would, Mr. Carson.

_Pause._

BATES (CONT'D)

Why? Are you writing a book?

CARSON

It appears that I am co-writing one,

yes.

_Carson swells just a bit with pride._

CARSON (CONT'D)

Now, I must see to the wedding

silver.

_Carson disappears around a corner. Mosely_

_and Bates stare after him for a moment._

MOSELEY

(In a low voice) Be a good of you

to get your hotel set up before our wedding. Then

we'd have a honeymoon spot.

(Mosely laughs.)

BATES

We'll do our best. Speaking of

which. I've an errand to run in

London, this afternoon. Would that

be convenient for you?

MOSELEY

Oh, yes. Fine. I'm nearly ready

to take over, I should think.

BATES

I believe you are right.

_Carson steps back around the corner._

CARSON

Oh, Mr. Bates-if you are in London

this afternoon, I have a list of

resource volumes we'll be needing.

Would you be able to-

BATES

Yes, Mr. Carson, it's no trouble.

I'll get the list from you before I leave.

_Bates turns to go._

CARSON

And, Mr. Bates.

_Bates turns back to Carson._

CARSON (CONT'D)

(Nodding at Bates' coat pocket.)

You still have yet to open your

letter from this morning.

BATES

Ah. Yes.

_Bates opens his letter._

ISOBEL'S HOUSE, BEDROOM. DAY.

_Isobel is looking through her dresses and hats which are set_

_out all around the room. She stands back to survey them._

ISOBEL

(Nearly to herself.) A trousseau.

At my age.

_The maid enters with an armful of coats._

MAID

Would you like these out on the

bed, ma'am?

ISOBEL

Please. I expect I'll only need

the lightest weight fabrics. Oh,

and I will need to send out letters

this afternoon.

MAID

Very good, ma'am.

_The maid is nearly out of the room and stops._

MAID (CONT'D)

Ma'am, when will the next women's

tea be held, then? On my last

errand in the village there were

inquiries.

ISOBEL

There won't be another at this

address. Hence the correspondence.

Oh, and I'll write your reference,

just as a matter of course. But I

think you will like Lady Driscol.

She's modern, but also a kind

person.

MAID

Thank you, Mrs. Crawley. Will

there be anything else now?

ISOBEL

Yes. My luggage, please.

_The maid leaves the room. Isobel sits on the bed next to the_

_coats. She is quiet for a moment, then begins to laugh._

HUGHES' OFFICE. LATE MORNING.

_Carson enters. Hughes is at her desk, writing._

CARSON

I wonder-that is-

_He realizes that Hughes is on the phone._

HUGHES

Yes, and we will need to see those

samples of the Irish lace trim. Do

you have anything more - recently made?

_Hughes looks at Carson, taking in his posture._

HUGHES (CONT'D)

Very good, yes. Monday it is.

_Hughes hangs up her phone, makes a note and looks at Carson_

_again._

HUGHES (CONT'D)

My! You're in a state.

CARSON

I've made dinner reservations for

Friday night.

HUGHES

Have you? Well, do enjoy yourself.

CARSON

I mean, why don't we go to dine out

on Friday night?

HUGHES

You were going to ask me, then?

CARSON

Whom else would I ask?

HUGHES

How very flattering.

CARSON

I-what is it?

HUGHES

Do go ahead. Clearly there's more.

CARSON

I've-I've something to celebrate.

And I want to celebrate it with

you.

HUGHES

I'd love to go.

CARSON

Good.

HUGHES

But I'm afraid I'm otherwise

engaged.

CARSON

You-what?

HUGHES

I have other plans. You might have

asked me sooner.

CARSON

But I've only just found out-

HUGHES

And you assumed that I'd assume

that I would be spending time with

you this weekend.

CARSON

As we have been spending more time

together and as we had

discussed that we both want to

spend more time together-

HUGHES

-you assumed.

CARSON

Well, of course I did!

HUGHES

Mr. Carson, the safest assumptions

are built on understandings, and we

have yet to agree upon one.

_Carson is flummoxed. Hughes is waiting._

HALL OUTSIDE VIOLET'S ROOMS AT THE ESTATE. LATE MORNING.

_Mary rounds a corner and runs directly into Cora, who has_

_arrived from the opposite direction. They stand outside the_

_door to Violet's rooms, equally distressed._

MARY

Mama, I must speak to Grandmother.

And then-

CORA

Mary, just now I have a more urgent

matter.

MARY

I assure you, you don't. And I do

have something to tell you but I

must speak to Grandmother first.

_The door to Violet's quarters is opened by Sprat. Violet, in_

_a wheelchair, is looking at them._

VIOLET

Before this mystery becomes a horror-was there a fly in the

pudding?

_They both stare at her and begin speaking at the same time._

_In unison: _MARY Grandmother, I must- CORA You don't understand, Mary-

_Violet holds up her hand, stopping them._

VIOLET

Come in out of the hallway, please.

_They enter and wait. Sprat shuts the door behind_

_them and leaves the room._

_Violet motions to Mary._

MARY

Edith needs our help.

_Cora is staring at her. Mary looks at Cora._

MARY (CONT'D)

What?

CORA

What do you know about Edith?

MARY

I-what do you mean? I know

everything. But what do you-

CORA

But how could you? Tom said-

MARY

Tom?! Tom said what?

CORA

He told me. That Edith needs help,

that-

MARY

TOM told you?

CORA

Yes. If you knew then why didn't

you tell me?

MARY

I didn't know.

CORA

Who told you?

MARY

Anna.

CORA

What?

_Violet puts up her hand again, stopping them._

VIOLET

Is Edith's child ill? Or in

danger?

_Mary and Cora turn to Violet, shocked._


End file.
